Next of Kin: Writing Undeniable Empathy Written by Sofi Abouassali1,2,3,4 1 Cinema Studies Institute, 2School of Environment, 3Certificate in Sustainability. University of Toronto 4 Second-year undergraduate of Innis College, University of Toronto
Introduction Next of Kin(1984) as Atom Egoyan’s debut feature accomplishes an impressive feat within the short runtime of seventy minutes. The 1984 film is an excellent example of using emotion to transcend boundaries in terms of empathy. Egoyan’s writing allows audience members to understand the characters beyond just responding to the characters’ words and actions. Using storytelling techniques and focusing on the characters’ psychology allows for a deep understanding of a family dealing with a generational and cultural pull between parent and child. This allows for a rich and deep understanding of the first-generation experience.
The Use of Narration The film’s protagonist, Peter Foster, narrates in first person through the course of the film, offering backstory insight and using audiotapes as a tool for narrating his thoughts. This narrative style offers the audience insight into the character Peter’s psychology. In addition, Peter actively narrates what he finds in the psychology of his surrounding characters. Peter’s self-proclaimed problem is that he likes to pretend, stating part of himself is the actor while the other part is the audience. This makes Peter a malleable character who can conform to whatever situation Egoyan puts the character in, creating an excellent tool for the audience to gain information. He often takes in his surroundings and contemplates questions that the audience ponders. He is able to “perform” in whichever scenario he needs to. Peter envies therapists; he wants the opportunity to explore what he finds intriguing- other families’ problems. At the beginning of the film, Peter states, “What can be more exciting than getting to know another family, trying to solve their problems. What can be more satisfying than giving direction to their life?”(7:44) He decides to watch the tape of another family’s therapy session in this desire. The tape he chooses is of an Armenian Canadian family with a ghost-child son, the same age as Peter. Peter takes this opportunity to pretend to be the missing child, Bedros, to resolve familial tension. His decision to “perform” as Bedros gives the audience a chance to witness firsthand what goes on inside the family. Peter’s relationship with each family member also allows the audience to see different sides to the same characters. Rather than morally good or bad characters, each character has flaws, but Egoyan explores the reason behind these character flaws. He writes to explore how the seeds of how the characters’ beliefs and actions have been planted and grown.
Screenwriters’ Perspectives Vol. 3 No. 1 2022
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